Quotes of All Topics . Occasions . Authors
When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it.
The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely there were little jokes and speech bubbles and odd things going on in the background.
With comics, you've got to develop some kind of shorthand. You can't make every drawing look like a detailed etching. The average reader actually doesn't want all that detail; it interferes with the flow of the reading process.
In Miami they're building all these hideous monstrosities. It's just so easy to be an architect, once you've got the ability to do your computer drawings. They just knock off each other. There's nothing creative in any of them.
In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.
If we get to the design sensitivity and make no detections, then there are a lot of things that will have to go back to the drawing board theoretically. If we fail, we're not expecting that the NSF will help bail it out somehow.
The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely, there were little jokes and speech bubbles and odd things going on in the background.
Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.
Ritual is one of the ways in which humans put their lives in perspective, whether it be Purim, Advent, or drawing down the moon. Ritual calls together the shades and specters in people's lives, sorts them out, puts them to rest.
Sometimes I will draw people and they will move away too quickly for me to finish what I wanted, and it is not enough for me to consider it a drawing of them. I hope I have gotten better at capturing things quicker in a drawing.
It's a funny thing that people are always ready to admit it if they've no talent for drawing or music, whereas everyone imagines that they themselves are capable of true love, which is a talent like any other, only far more rare.
Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies – the desire for an active, investigative, manually vivid relation with the things we see and yearn to know about – is apparently immortal.
In 1970, I was turning 29 years old, just 4 years out of art school. I had created a black and white drawing style mascot portrait called 'Johnny.' I made a poster for it and sent it around the world to corporate art departments.
Check-raising with a drawing hand on the turn is simply a kamikaze gamble. It might work once in a while, but if you consistently attempt it, too often you'll find yourself watching the rest of the tournament from behind the rail.
Once a bustling logging town, Sandpoint has embraced its natural beauty to become an amazing resort town drawing people near and far to enjoy its beauty and recreational possibilities. It's truly a small town with a huge backyard.
Ditko isn't a direct influence, but I really admire his work and how his personality always comes through the drawing. There's a honest and quirky humanity to it, and you always feel the artist behind the comic. That's really rare.
You know, it's a big version of an episode, which I think is necessary at this point because we're drawing in people who not only people who have seen the show before and are devoted to it, but people who have never seen it before.
I had a fistfight with every kid on my block. I got about fifteen broken noses to prove it. Part of it was also because I was always drawing, and I always had an artist portfolio with me. But I was a tough kid. I won their respect.
The Negro cannot stand the present reactionary tendencies and unreasoning drawing of the color line indefinitely without discouragement and retrogression. And the condition of the Negro is ever the cause for further discrimination.
I am quite convinced now... that the actual training of drawing cartoons - which is, of course, my style - led to my producing Spot. Cartoons must be very simple and have as few words as possible, and so, too, must the 'Spot' books.
You don't expect everyone out there watching to believe that this cartoon is real, that this drawing has really come to life. But on some level, you do. You try to cast a spell. You want the world to feel real. It's a nerdy pursuit.
We want to make the best television possible. We should be drawing on the entire available pool of storytellers and directors, and we should be expanding that pool and trying to hire the very, very, very best people. That's our job.
All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.
Those who are not conversant in works of art are often surprised at the high value set by connoisseurs on drawings which appear careless, and in every respect unfinished; but they are truly valuable... they give the idea of a whole.
The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.
You work for so long on a graphic novel that it's easy to question your ideas or to burn out on drawing. But you plug away at it and trust in the story you want to tell. It's a marathon, but the finished product is really satisfying.
I know that when I finish a drawing, my anxiety level decreases. The realistic drawings are a way of pinning down an idea. I don't want to loose it. With the abstract drawings, when I'm feeling loose, I can slip into the unconscious.
Put no more than three messages on a lemonade stand. You have to describe what your product is, why it's the best, and how much it is. Don't be drawing turtles and flowers and footballs all over it, distracting people. Keep it clean.
There was a long stint during my childhood after I gave up on being a pro football player - we're talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.
In the days following 9/11, when we were reeling and disoriented, there was a kind of solace to be found in old recordings, and even pseudo-folk singers like James Taylor seemed to be safeguarding something, drawing back bygone days.
Tove Jansson was the most successful Finnish illustrator and writer of children's books of her day, and she was the most widely read Finn abroad. She began her life as an artist early - she had her first drawing published at fifteen.
There are 12 million illegal immigrants in this country - drawing welfare benefits, sending their children to public schools, and pushing down wages for American workers - but the problem extends well beyond amnesty and open borders.
They asked us to draw pictures of what we thought men and women look like naked and so I was like, "Get away, I'm doing my weird homework, drawing a naked man and woman." And I can't even draw. That's all I remember. I have no memory.
I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.
I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.
The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.
After my schooling, I was not thrilled by the idea of treading the usual doctor-engineer line. I wanted to pursue something artistic, and I was good at drawing. The options before me were architecture, fashion, and interior designing.
I've always believed that you have to have the skills before you destroy the skills. If you want to be crude, be crude, but don't be crude because you don't know how to do it, because you're not perfect at drawing and pattern-cutting.
On occasion I have drawn as a release from painting. The economy in using paper, pencil, charcoal and crayon can help towards a greater gamble and higher rewards. I also find that drawing can generate ideas more rapidly than painting.
Well, something must be done for May, The time is drawing nigh-- To figure in the Catalogue, And woo the public eye. Something I must invent and paint; But oh my wit is not Like one of those kind substantives That answer Who and What?
I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.
Mickey Mouse popped out of my mind onto a drawing pad 20 years ago on a train ride from Manhattan to Hollywood at a time when business fortunes of my brother Roy and myself were at lowest ebb and disaster seemed right around the corner.
The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.
The best works do not necessarily get to auction. I like to draw, so maybe I give you a little drawing. And then eventually it ends up at auction. And then critics say, 'Oh, that's a bad drawing!' Well, I didn't say it was so wonderful.
I have drawn my whole life. My parents were in the tapestry restoration business, and as a young girl, I would draw in the missing parts of the tapestry that needed to be re-woven. My ability to draw made me indispensable to my parents.
I would say think about the thing that makes you happiest, and do that. If it's drawing or dancing or listening to music or bowling, whatever it is that makes you happy, I would focus on that, and you'll definitely gain some confidence.
I find that I'm constantly drawing. Even when I'm on holidays or when the baby's sleeping, I'll just start doing some automatic drawing, something like that, and then it will turn into a piece, even though I thought I was just doodling.
Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone cant accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.
This simple idea served to provide information on the geometrical shape of reacting molecules, and I was able to make the role of the frontier orbitals in chemical reactions more distinct through visualization, by drawing their diagrams.
I must learn to express the gentle vibration of things: the intrinsically rough texture. I must find this expression in drawings; in the way in which I draw my nudes here in Paris, more original and at the same time sensitively observed.